Bound to Break

Between the mediocre debut and Anthem's final record that would feature Eizo Sakamoto for a while, this band would keep getting better and better, as Bound to Break is yet another superior offering when compared to its predecessor. The production sounds cleaned up, Eizo Sakamoto delivers his finest vocal performance up to this point and most importantly: the band’s identity really starts to shine here.

The usual blend of speed and hooks is still present, yet as far as speed metal tracks are concerned, Bound to Break has more in common with the sophisticated Hunting Time than the intimidating Tightrope. The title track immediately highlights Hiroya Fukuda’s advanced guitar chops and the result isn’t so much of a raw take on speed metal, but rather something personal that only he could have come up with. Its chorus is obviously simplistic, but that doesn’t stop Eizo Sakamoto from delivering a passionate vocal performance…and who could forget those fun gang-shouts? ‘’Empty Eyes’’ is another banger and with such no-nonsense riffs dominating everything, it would be easily to assume that Hiroya Fukuda overshadows everyone else here, but nothing could be further from truth. Between the sharp guitar riffs and the engaged bass lines, you end up with slightly elaborated chorus that allows Eizo Sakamoto to prove himself for the best here. Besides the intense speed metal cuts, you'll also stumble upon some rockier and mid-paced numbers that are somewhat reminiscent of follow-up Gypsy Ways. ‘’Show Must Go On!’’ is surprisingly vocal-oriented, although it's somewhat lackluster, while the addictive grooves of ‘’Headstrong’’ are undeniably Accept-influenced. Indeed, from a stylistic point of view one might wonder why Bound to Break had not been released between Gypsy Ways and Hunting Time instead.

But it's not without flaws. As usual, there are a few inferior tracks present between the otherwise superb material. ‘’Show Must Go On!’’ sounds a bit too slow-paced for my taste (especially after hearing those explosive first two numbers) and although Eizo Sakamoto sounds convincing enough, I could have done with some actual standout riffs on it. However, the worst offenders comes down to ‘’Machine Made Dog’’. It’s a seriously bad track and it makes me feel like an idiot every time I’ve finished listening to it. The riffs plod along and even Eizo Sakamoto sounds goofy here, but how could he not with an idiotic chorus that sounds like that? This might as well be the band's worst track the band had written at this point...there's just no other way to put it.

As I had mentioned, Bound to Break would also mark Eizo Sakamoto’s final contribution before temporary getting replaced with Yukio Morakawa and although he has never been my favorite Anthem vocalist, he definitely deserves credit for progressing for the best during his earlier years. The youthful tone that was part of his earlier vocals has been replaced by a mature tone and while the guy doesn’t scream as much as a banshee as he did earlier, he’s belting his heart out like a committed rock ’n roll survivor. The improved vocals match perfectly with Hiroya Fukuda’s cleaned up guitar tone, which would be a lot different when compared to the raw, garage-y tone of Tightrope.

So, even if it’s not exactly perfect, Bound to Break sounds very distinctive and it's the best of the Eizo Sakamoto-era. If you’re looking for an album that sums up what Anthem was all about at a time, there’s no way you can go wrong with it.

This review was originally written for antichristmagazine.com

Japanese heavy metal quartet had proven with its first two full length releases Anthem and Tightrope that it had enough inspiration, passion and talent to be among the best heavy metal bands of its country and even around the world but the songwriting was overall a little bit too predictable and repetitive to stand out. Anthem's third release Bound to Break is a big step forward for the band. With the help of engineer, producer and songwriter Chris Tsangarides, Anthem manages to deliver a record with distinctive tracks that find the right balance between catchy choruses and strong instrumental work.

Three tracks really stand out on Bound to Break. First of all, there is the mid-paced rocker ''Show Must Go On!'' with some cool guitar effects, dominating bass guitar and strong lyrics. Chris Tsangarides co-wrote the lyrics and along with the almost danceable rhythmic vibe, this song recalls Judas Priest's Turbo record without copying it. It would actually have been one of the best songs on that release. ''Soldiers'' is a passionate up-tempo track with galloping rhythm section, a great main riff and expressive vocals which are occasionally supported by mysterious background chants. The song stands out because it has a dramatic and epic vibe despite its focused and vivid instrumentation. The track finds just the right balance between atmosphere and pace. ''Machine Mad Dog'' goes back to the mid-tempo pace and style of ''Show Must Go On!'' with guitar effects and tight rhythm section. The song stands out because the vocals and especially the chorus are really catchy. This track should have been released as a single to help the band get more attention and praise.

In general, the album doesn't include any fillers even though the two opening tracks are standard up-tempo material for Anthem while the middle section and second half of the album carefully integrates new elements into the sound the band had established on its first two releases. The rhythm section is catchy, gripping and often danceable. The guitar play finds the perfect balance between focused main riffs and a few experimental sound effects that give the album a then-contemporary vibe. Eizo Sakamoto really shines on this album and proves to be one of the most skilled and passionate heavy metal singers in the world. It's a shame that this was his last album with Anthem before the band's reunion.

Bound to Break might not be as revolutionary as Loudness' early works but it's a great heavy metal album with a catchy, commercial and danceable vibe that could easily appeal to rock fans all around the world and I mean this in a very positive way. The collaboration with Chris Tsangarides seems to have helped the band to focus on its strengths and add some exciting new elements to production and songwriting. Bound to Break sounds like a less controversial Japanese version of Judas Priest's Turbo and I have always had a soft spot for that album.

After two unspectacular recordings, Anthem finally right the strip and max out their aptitude with the grand Bound To Break. The prior albums had moments of splendor and there was an evident evolution in the superior second release Tightrope but those releases were far too derivative of other bands in the era. Like all the others, Anthem was channeling their Judas Priest, Triumph, Accept and Scorpions influences and while never theft, the material failed to demonstrate their own quality songwriting.

On Bound to Break, Anthem embrace the single best element of prior material - energy - and injects it with a supreme dose of accessibility, creating an album that is simultaneously both heavy and catchy. Whether it’s double bass driven powerhouses - [Empty Eyes, Rock and Roll Survivor] - progressively flourished mid-paced burners - [Fire ‘n’ the Sword, Soldiers] - you will find yourself humming highly memorable lines long after the songs conclude. I wore out my vinyl of this with excessive repeats of every song each time I listened to it.

The difference here than the previous two or the subsequent one is the ability to write streamlined and hook laden songs that keeps its focus without sounding forced or abandoning the rhythm section of Naoto Shibata and Takamasa Ohuchi. They had always been great when taking every aspect to eleven, blowing subtlety to pieces. Here though is where the band hones their craft of streamlined songwriting, permitting each passage a chance to breathe without becoming repetitive, something that plagued their first two albums.

Worst song? There are no bad songs here, each one precisely crafted for maximum memorability while never forsaking their heavy or furiously hectic identity, it would be the No More Night. It definitely is a speed metal monster that often flirts with Thrash and is still dynamic but it lacks a certain charm the other songs are saturated with. It is never worthy of being skipped and that speaks to overall quality of this overlooked release.

Best song? Without question it’s the powerful anthem in the form of side twos opener, Machine Made Dog. There is a dramatic intro (‘Limited Lights‘) that has brooding synthesizers building in suspense with creepy and highly metallic atmosphere before exploding grandly into the following anthem. It is not as distinctly dynamic but what it aims for - instant classic - it succeeds at due to the atmosphere and vocals of Eizo Sakamoto.

Detailing that best song I lead to what I consider is this albums secret weapon, the production and obvious songwriting assistance of Chris Tsangarides. He clearly had a huge influence on the album flow and consistent focus on strong vocal lines atop inspired rhythm sections. One of the standouts in all albums produced by Tsangarides are the incredible vocal lines; it is the constant between them and this is no different. Thanks to the direction and focus by the savvy veteran, to go with a marked improvement by Sakamoto, each song has exceptional vocals. They never dominate but, like everything else, fits flawlessly in its own sonic space.

The only thing I can say negative about this record overall is the artwork. While that has nothing to do with the quality of music or experience, it does lack the punch other classic albums by Metal titans have. The artwork is not a Sad Wings, Just A Game, Killers, Sabbath Bloody Sabbath, Rust in Peace, Sirens, Ride the Lightning, etc…

The artwork on the LP is just two glowing objects broken in half lying on some grass, the back cover is of some kind of glowing object lying on the grass. The inside gatefold is just individual photos against a black background. Obviously I am aware of how meaningless artwork is compared to the actual music presented but this was from an era where bands put much stock in the visual representation. Vinyl sleeves obviously are much larger than a jewel case or plastic cassette package, so quality artwork was this eras version of a custom thumbnail - ironically - for an internet video.
Unimportant for sure but when compared to other metal bands of all eras - especially this era when people still bought/traded/value LP’s - it just does not grab you the way it should. It also fails to represent the title or the amazing slabs of molten metal that occupy all 42 minutes this encompasses.

Highlights: 'Machine Made Dog', 'Empty Eyes' & 'Headstrong'.

Back in 1987, heavy metal did not get much better than 'Bound To Break'. It meant the beginning of Anthem's long-standing relationship with British producer Chris Tsangarides and whether it was his influence or not, the band ended up sounding more focused and streamlined than ever, finally fulfilling the potential displayed on their first two albums without sacrificing any of the hungry energy of those records. Though 'Bound To Break' was the finale for Eizo Sakamoto's first tenure with Anthem, he sings much better here than on the two predecessors. All of these elements result in what can be considered the definitive Anthem album.

While Loudness was the most successful of the classic heavy metal bands from Japan, Anthem had the most ballsy sound. Their uncomplicated, but not too simple brand of heavy metal was built upon the strong rhythmic foundation of drummer Takamasa 'Mad' Ohuchi and bassist and main songwriter Naoto Shibata, upon which Hiroya Fukuda built his riffs, that vary from pumping chords to classic beefed-up hard rock riffs. As stated before, Sakomoto improved considerably before the recordings of 'Bound To Break'. His performance is still raw-edged and passionate, but he gained a range that he would further expand when he returned to Anthem around the turn of the century.

Many bands could learn a lesson from how Anthem streamlined its sound and somehow ended up sounding heavier instead of watered down here. The opening title track, for instance, is not that different from what the band did prior to this album, but there is a sheen to the song that lifts the track to its classic masterpiece status. The rest of the record varies from powerful midtempo stompers ('Machine Made Dog', Headstrong', 'Show Must Go On!') to speedy adrenalin rushes ('Empty Eyes', 'No More Night', 'Rock 'n' Roll Survivor'). No ballads or crossover hit attempts; 'Bound To Break' is Anthem's mission statement.

Almost every track on this record is a winner, but none more so than the classy melodic heavy metal of 'Soldiers'. Due to the somewhat more melodic nature of Fukuda's minor key main riff, the song is reminiscent of their early classic 'Shed', only even better. Through the melodies and the calmer middle section, Shibata really succeeded at creating a dramatic feeling of defeat on the battlefield here. Truly one of Anthem's crowning achievements. Closing track 'Fire 'n' The Sword' adapts a similar approach, albeit it in a somewhat more aggressive and straightforward fashion.

Since 'Bound To Break' even created some minor interest in the west - the live album 'The Show Carries On!' from the same year was recorded in Los Angeles - so it is safe to say that Anthem is not one of those "only in Japan" bands. This is timeless, solid, honest and simply excellent heavy metal in the best Judas Priest and Accept tradition. Heavy metal that makes sure the bottom end is secure before adding showy frills on top. Though Anthem is quite likely the most consistent band in the Japanese heavy metal scene, 'Bound To Break' is one of the absolute peaks in their career.

Recommended tracks: 'Soldiers', 'Bound To Break', 'Empty Eyes'

Originally written for my Kevy Metal weblog.

Long running Japanese metallers, Anthem, made a very solid splash into the international metal circles with this album. I remember hearing the title track many years ago on my college radio station of choice's metal show and being very impressed with it. Listening to this again over 20 years after the fact reveals that this album is holding up pretty well and features some excellent tunes.

Chris Tsangarides' production is clear and just gritty enough to add to Anthem's thundering, vintage Judas Priest-inspired style--the title track, in fact, is very reminiscent of "Painkiller", funnily enough. To my surprise, the drum sound is not as humungous as 80s drum sounds grew to become, it's just right. There is enough American influence in the music, though, most notably in the big sing-along choruses, to catch the average listener's ear and be memorable. The guitar work has just enough technical proficiency to impress and features unabashedly melodic work as well, over a booming rhythm section that rumbles along in an unstoppable vein once it gets rolling.

A young Eizo Sakamoto sings his heart out as only he can on this album, with a slightly lower vocal style and sound than he currently features, and the lyrics are a mixture of mostly Japanese with the odd bit of Engrish for good measure, making for some both interesting, slightly cliched, and downright odd titles and lyrics--"Machine Made Dog"? Wonder what that one's about? So, on to the music...

The title track powers its way out of your speakers with a howling barrage of guitar whammy bar madness surging into a crunching verse riff that charges into the fray right alongside Sakamoto's raspy, gutsy vocals. The pre-chorus and chorus on this one are dramatic and exciting, too! "Empty Eyes" keeps up the metal with an uptempo double bass romp and another strong chorus that etches itself into your mind despite it mostly being in a foreign language. Other standouts include "Show Must Go On" (the sole English language tune that Tsangarides helped write, possibly due to the band's lack of English skills at the time, and Sakamoto is actually rather easy to understand on this one), which is a thick midtempo wall of riffing, and "Soldiers", another dramatic and actually rather moving tune.

Overall, this is a very well-crafted, well-produced album showing that metal and good music knows no language or national barriers. The songwriting is there, the musicianship is skilled, it's a shame that the language barrier probably kept more American fans from appreciating what Anthem had to offer. Too bad, 'cos these guys were and still are really good at what they do, no-frills melodic metal that is straight no chaser and just as good as any of their American counterparts. This is very worth downloading or seeking out in the used bin at your record shop, most definitely, so check it out if you can hang with 80s metal that features equal parts crunch and melody. You will not be disappointed, I think.